Meek Mill turns in a guest verse on “Tap” that succeeds in finding the sweet spot between his trademark high energy and Nav’s languid soundscapes. “I’m givin’ bitches pity fucks,” he says on “Taking Chances” before later following up with “We gon’ shoot first and watch ’em duck.” Nav should sound ruthless instead, he comes off like he’s reciting a grocery list.Īn unintended byproduct of this Atlanta pastiche is that when rappers familiar with the mode show up on Bad Habits, their performances tend to mark Nav irrelevant in the process. He’s not capable of embodying the paranoid hedonist, his braggadocio dragged down by clunky writing and a grating voice. Then there’s Lil Uzi Vert, who hangs over Bad Habits like a haunted spectre – an intended verse written for “Habits” is rapped by Nav instead, fumbling and losing the pocket much like a karaoke singer unfamiliar with a song would.
There are vocal performances found on “To My Grave” and “Tension” recall a pre- Astroworld Travis Scott. There are times where he tries his best Swae Lee impression, employing a swooping falsetto that fails to impress. Oftentimes, he sounds like Offset on Bad Habits – the Migos rapper’s cadences mimicked down to the exact vocal lilts. As a rapper, Nav yearns to embody the trap crooner aesthetic Southern rappers popularized years ago, daring to go as far as nicking recognizable vocal patterns. The Weeknd shows up with an executive producer credit on Bad Habits and one could credit the album’s pop sheen to him – it’s an album that suffices as an entire Rap Caviar playlist on its own.īut the issue is the listener still can’t seem to glean what Nav wants to do. The sound of Bad Habits harkens to Nav’s early Soundcloud days he dials back the whining and self-aggrandizing which soured Reckless, opting to stay within his comfort zone: Atlanta-via-Toronto bass-heavy space trap intended to soundtrack after-hours drives and loft parties. While Nav’s penmanship as a songwriter may leave much to be desired, as a producer, Nav’s vocabulary tends to be more developed. Bad Habits was supposed to be his grand return, essentially giving us the “real” Nav. Nav’s retirement felt nonplussed it was a farewell that didn’t feel like a threat, merely a deflated pledge instead. It’s an album that fails to answer questions about Nav’s identity or sell us on why we should care about him. The XO-affiliated rapper was supposed to quit the rap game this year – whether inspired by Lil Uzi Vert’s own retirement or frustrated with his lack of discernable success – but came out of it to remind us he was the first brown boy to get it poppin’ with the aptly-named Brown Boy EP, followed by the full-length Bad Habits, his second overall. Nav favours dark trap songs for the millennial set but his limited songwriting and vocal range leave listeners with very little to grasp on.
The Toronto-adjacent rapper/producer grew a fervent following on Soundcloud before his mainstream debut on a Travis Scott record that left many wondering just who he was.
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Producers like Pro Logic, WondaGurl, and London On Da Track give Bad Habits a feather-light, leather-tight touch, allowing the rapper to pick up where he left off and take his corner back.Nav thinks he’s an enigma. “Tussin” (with Young Thug) addresses affairs of the heart, and “Why You Crying Mama” reveals the stresses that his indulgent lifestyle put on his immigrant parents (like finding stacks of cash, pills, and remnants of wild spending). “I’m Ready” and “To My Grave” signal that his heart is back in it, while “Price on My Head” (featuring executive producer The Weeknd) and “Tension” dive into the jealousy that comes with fame. Back in the fold, the Toronto MC/producer's second album continues his hedonistic and nihilistic journey. As Michael Corleone famously says in The Godfather Part III, “Just when I thought I was out, they pull me back in.” Two months after NAV posted an Instagram story about quitting music, in solidarity with his Fortnite pal and frequent collaborator Lil Uzi Vert, the rap game proved too strong for him to ignore.
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